Outdoor Sculpture and Art Event Presented by Architecture for Art.

The event is being held at the Overlook Orchard on Sunday, September 30 from 2 p.m. to 6 p.m.

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Hillsdale, NY (PRWEB) September 28, 2012

CLEARING - an outdoor Art and Sculpture Event featuring Kathleen Jacobs latest work is taking place in an event put on by A for A is taking place on September 30 from 2 p.m. to 6 p.m. at the Overlook Orchard. For more information and directions please visit http://www.ArchitectureforArt.com.

In the hills overlooking Catamount in the NY Berkshire Mountains, view Kathleen Jacobs' latest works in the Overlook Orchard at A for A. This is the opening day of a year long piece.

The natural landscape that surrounds us is the result of epic battles between the elements. Ancient ancestors recognized these forces at play and in mythopoeic language captured the essence in story and symbol. In almost every culture the origin story involves forces of nature. Water in particular. Kathleen’s paintings have a quality of presence that recognizes the unifying flow that connects the trees, roots in the earth, wind, rain, clouds, sky and human experience. Kathleen brings the exhibit out from the confines of a gallery into the field and unfolds it like a partially visible tent. A constellation of canvas fragments draw the observer’s gaze from one place to another, creating a unique geometry that evokes the shape of a semi sphere, gently enveloping the space of the meadow. As Kathleen focuses on a micro scale of the landscape, tree bark texture, she reveals the macro scale of the dynamic flow of patterns that surround us. While viewing the installation, the spectator is reminded of the notion that resonates in many myths: Everything is interconnected. We are surrounded by the continually unfolding terrain of an origin story. - Grigori Fateyev

Interview with Kathleen Jacobs and A.T. Mann, author of "Sacred Landscapes":

a.t. mann: Your paintings seem to show movement and flow in their form?

kathleen jacobs: The bark’s movement reflects the flow trend in both air and water. This trend is found throughout the natural world in sky, water, land and our own bodies, a fascinating subject which has been debated for centuries. I fly a small plane most days and pass much time observing the sky and weather. My recent work reflects this. Bark, unlike sky, is a stationary solid workable template. I make multiple rubbings on canvas using the tree’s wood grain as my plate, as one would do with a print. I layer images to create depth. After extracting the canvas from the last tree, I stretch it as a horizontal. This process takes up to six months.

atm: Are changes of scale important to you in your paintings?

kj: Initially I made small paintings, they were practical to store and allowed me to work on many at the same time. The largest paintings were one meter by one meter. I am now working on a group of very large paintings, which will be shown in Beijing in 2013. The gallery is quite large and affords me the opportunity to make works of a bigger scale.

atm: You must be learning a lot about trees making these paintings?

kj: Different species have different grain. I have learned which grain will create the effect I am looking for in this particular series. Each of these paintings demands great care and the exercise is similar to working on multiple plate prints.
atm: How long a process has it been in your mind, which has led to your current work?

kj: I started making traditional landscape paintings of trees in 1988. I moved on to experiment with making paper rubbings of the bark. At the same time I was studying a 4000 year old text which was made from a rubbing of stone. My practice of calligraphy was of this text. The paper I used was too fragile for rubbing on bark, so I began to experiment with canvas. Eventually, I installed 20 canvases on trees in an aspen grove. I worked on these paintings over a ten year period. The paintings processed in ways that were unimaginable to me at the onset. I
was amazed and delighted as the paintings aged and weathered. This patina became an intricate part of the process. The paintings, which comprise the “Clearing” will stay in situ for a year.

atm: How did you title the piece?

kj: In traditional Chinese painting, poems are inscribed on the paintings, which reflect on, contrast, or relate to the visual images portrayed in the works. “Clearing” refers physically to the making of a clearing; defining its boundaries. I participated in the act of actually rescuing (clearing) an old walnut orchard and making the paintings which delineated it boundaries; both geographically and spiritually. “Clearing” refers to the above act, which cleared both my head and my palette. The artist has combined painting and sculpture in this amazing environment, creating dozens of unique outdoor works, integrating the land, the trees and the sky.

Kathleen Jacobs has worked extensively in Italy, China and Aspen, CO. Her work is influenced by print techniques from the Gemini Studio, Chinese Calligraphy rubbings and Japanese Woodcuts.

Enjoy the art and the view in this out of doors exhibit.

Presented by AforA, where Art meets Space.

Sunday at 2-6 pm, September 30th 2012
Architecture for Art
184 Overlook Drive Hillsdale, NY 12529
Phone: 518 325 1022  

Admission is free. Wear some comfortable shoes!

For more information and directions: http://www.ArchitectureforArt.com


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